Greetings, y’all, and welcome to another episode of This Wasn’t Supposed To Be The Post This Week!
Pride’s coming up next month, and partly as a result, I’m starting to see an influx of “oh, we’re looking for LGBTQ+ [insert item here]!” both in my inbox and on socials generally. Sometimes friends forward me opportunities, which is incredibly kind, but some of these so-called opportunities come with demands that fall beyond the boundaries of reason and are better deemed exploitative. Though it varies from one posting to the next, many of these “in search of…” ads that find their way to me are calls for scores, and as someone who’s been on both the submitting end and the judging end of these, wow, I have thoughts.
The composing community frequently has these conversations in earnest on multiple platforms, but many folks miss the discourse entirely or brush it off as the complaints of a small contingent. Today, you’re not getting that lucky. For just a moment, I’d like to tell you about a call for scores I came across today; see if you can spot the red flag(s) from the Instagram ad:
Continue reading “Pride Isn’t A Reason To Exploit Queer Composers”
- performer is requesting scores for a specific solo instrument and piano; performers are specified
- specifically seeking scores from LGBTQ+ identifying composers (submission requirement)
- music is for a new album
- work cannot be previously recorded or performed
- $500 prize for each work chosen, plus a copy of the studio recording
- no entry fee, June 1 deadline
It’s been a busy semester of teaching and grading, rehearsals and more grading, and I’ve found myself composing a little less. This isn’t entirely a surprise—it’s my first full year out of grad school, and I’m trying to commit to not writing on absurd deadlines anymore—but it’s been an interesting change of pace. While I’ve enjoyed having the opportunity to sit back and really think about what I’m putting on the page, I’ve also learned a lot from watching competitions and calls for scores go by.
The side of me that cares very much about ethics isn’t super impressed with those right now.
Before we get too far into it, I’ll freely admit this is colored by my preexisting dislike for most competitions. Some are fine, but anything that costs money to submit to and doesn’t provide transparency about what that money is used for grinds my gears. (My rule of thumb: for existing ensembles, if there isn’t a cash prize involved, regardless of performance opportunities, competitions and calls for scores should be free to submit to.) Further, the motivation behind competitions specifically has always been a little odd to me. How are any of us realistically going to identify the best composer?
Okay. Time to get back on topic. Otherwise, this is going to get unfocused fast. I’m not the biggest fan of competitions, but I’ve run my share of calls for scores, and for the most part, I don’t mind them. They’re a great opportunity for composers and performers to swap scores for recordings (and performances!) without either party losing a lot of money. They’re especially awesome for composers who have scores sitting around and ensembles who wouldn’t have a lot of access to new music otherwise.
That said, I tend to shy away from calls for scores that are billed as “new works” recitals, and tonight, I want to talk about why.
Continue reading “Performance Restrictions, Ethics, and Calls for Scores”
Hi! This isn’t an interview, and you’re not really here (though where you’re reading this, technically you’re here and I’m not), so I can’t ask you to sit down or offer you a glass of water. You won’t be getting a job today, but you do care about this outcome. Maybe you paid money to be here, to put your work in front of me, or maybe you didn’t. Maybe I offered to look at it and consider it for free. Either way, you’ve left me alone with your work to decide if I’m going to use it or not. Continue reading “Tell Me About Your Score”
No time like the present for a call for scores announcement!
As many of you know, Phantom recently wrapped our second call for scores. This time around, we separated the process into two parts: our initial judging and a finalist round,
in which we look at works from ten to fifteen composers and make our selections. In no particular order, our finalist composers for the Winter Call for Scores are: Continue reading “The Finalists are Here! Phantom Announces its Second-Round Composers”
In the interim between the end of Phantom’s fall call for scores and the beginning of our winter round, I’ve received a few questions about running a call for scores as an ensemble, what exactly it entails, and how we did it. As I’ve been taking point in our hunt for new, fresh-off-the-press-if-we-can-get-it music, I decided to compile a few of the most important parts of the call for scores process into the following post to serve as a preliminary guide for anyone else with a new group who wants some new material. Continue reading “Ensemble Talk: Calling for Scores (and Dealing With It)”